<p class="p1"><span class="s1">I have postponed writing about several of Pedro Almodóvar’s films, including <em>Julieta</em>, but not because I didn’t find them worthy subjects for review. On the contrary, I personally think that his style is fascinating and his narrative worlds and characters compelling. However, when I sit down and think about an individual film that he has directed, I find myself at a loss for words. It is not that they are beyond articulation, nor are the plots overly complex. In fact, many of his films follow similar trajectories and cover similar themes, namely lost love, sexuality, betrayal, religious zealotry, and the relationship between mother and child. His narratives also generally rely on chance meetings and serendipitous circumstances. </span></p>
<p class="p1"><span class="s1">In spite of this, his film’s often leave one with a feeling of listlessness, something verging on an existential slump, despite the bright colors and loud, energetic characters. I can’t quite put the sensation into words, but it must be said that it is not an entirely bad thing; his films are highly enjoyable, there is just something that is lacking about them. In his 2016 drama, <em>Julieta</em>, Almodóvar brings all of these elements together to form a story about the pains a child can inflict on their mother, and the wounds of motherhood that never fully heal.</span></p>
<h2>What is Julieta about?</h2>
<p class="p1"><span class="s1">Based on passages from <em>Runway</em>, a collection of short stories by Alice Munro, <em>Julieta</em> begins in Madrid, where the titular protagonist (played by Emma Suárez) prepares to move in with her boyfriend, Lorenzo (Darío Grandinetti). Julieta has been estranged from her daughter, Antía, for many years, but when she runs into her daughter’s childhood friend, Beatriz (Michelle Jenner), she discovers that Antía is living in Switzerland and has three children of her own. Desperate to initiate contact with her, Julieta abruptly changes her plans with Lorenzo, and moves back into the apartment she shared with Antía years prior. Much of the story that follows is told through flashbacks; we see young Julieta (Adriana Ugarte) meet and begin a relationship with a fisherman named Xoan (Daniel Grao), who eventually becomes Antía’s father. The flashbacks continue to show the relationship between Julieta and her daughter leading up to the mysterious events that caused Antía’s departure from her life.</span></p>
<p><span class="s1">One thing that is abundantly clear about <em>Julieta</em> is that it is a very well-made film; there is nothing wrong with the narrative, the characters, or the pacing. The cinematography, as is often the case with Almodóvar’s films, is spectacular, built on a palate of neon colors that are never overwhelming or distracting. And yet, despite all the praise that can be heaped on Almodóvar and his films, there is also something missing; I cannot say exactly what, and even after thinking about it extensively, nothing specific comes to mind, but <em>Julieta</em>, like many of his other films, is lacking something that could have made a good film into a great one. In Almodóvar’s defence, this is the only issue that I have found with his body of work; while there are certain films that stand out as exceptions to the rule (<a href="https://wp.me/p8zIUb-c2"><em>Bad Education</em></a> certainly comes to mind), it seems to be a trend that his films take some abstract element for granted, leaving spectators wanting more.</span></p>
<figure id="attachment_1365" aria-describedby="caption-attachment-1365" style="width: 850px" class="wp-caption aligncenter"><img class="wp-image-1365" src="https://philosophyinfilm.com/wp-content/uploads/2018/02/hero_Julieta-2016-300x125.jpg" alt="Emma Saurez in Julieta" width="850" height="354" /><figcaption id="caption-attachment-1365" class="wp-caption-text">Julieta (2016)</figcaption></figure>
<p class="p1"><span class="s1">On a more practical note, <em>Julieta</em> is an interesting character study on the complexities of mother-daughter relationships. A mother gives everything that she has, perhaps it’s too much or even too little, but inevitably their children rebel, to one degree or another. Children often feel either smothered or neglected by their mothers, or mothers feel this way about their children; either way, in Almodóvar’s world, the relationships are always problematic, often in an irreparable way. Even Xoan’s housekeeper, Marian (Rossy de Palma), serves as a kind of surrogate mother whose relations with Julieta are cold and unwelcoming, only softening a little once Antía is born.</span></p>
<h3>Final Thoughts</h3>
<p class="p1"><span class="s1">In short, <em>Julieta</em> is an enjoyable and fascinating film from Almodóvar, but since it carries over many of the same elements from his previous films, it also carries with it the same weaknesses. Nonetheless, it is an excellent film for fans of the director or fans of Spanish cinema in general.</span></p>
<p><span class="s1">Rating: </span><span class="s2">★★★</span><span class="s1">½ out of 5</span></p>
<p class="p1"><span class="s1">If you&#8217;d like to watch <em>Julieta</em>, it is available to purchase <a href="https://www.amazon.com/gp/product/B01MQYH8AE/ref=as_li_qf_asin_il_tl?ie=UTF8&;tag=mjones34880c-20&;creative=9325&;linkCode=as2&;creativeASIN=B01MQYH8AE&;linkId=a31c64a200c18d828e618e1d718596a2">via Amazon here</a>.</span></p>

Review: Julieta (2016) ★★★½
